Wescorp Media Group VOC 1024×430

Timeline normal 5120 x 2160 to VOC 1024×430

Double c 10240 x 4320 to VOC 1024×430

ODP 1024 x 432

BMPC 4000 x 2160 actual size

RESOLVE http://www.easydcp.com/easydcp-resolve.php
5120 x 2160 = Theatrical 5K (2.39) RENDER THIS ONE
DCP https://www.opendcp.org
4096 x 1716 4K

2560 x 1080 2K Slim Raw
1280 x 540 quarter*

3072 x 2048 Lite Max
3072 x 1316.57 Cinemascope

3840 x 1620 = YouTube Demo
2560 x 1080 = Wire Cast 2K

DCI Scope 2.39 for testing
2048 x 858 2K or 1024 x 430 1K

DCI Scope 2.39
4096 x 1716

DCI
8192 x 4320 (3432)

1920 x 810
1280 x 540*
960 x 405 = Editing Time Line
480 x 202.5 = audio delivery

Academy Rules http://dcpinfo.com
24FPS
2048 x 1080
24-bit, 48 kHz uncompressed
Minimum 3 channels (Left,Right

DCP http://www.hamburgpromedia.com/news.php Player

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RBASE – WAVES
MAX BASE – WAVES to add low end after
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UHD 3840 x 2160 mini

4000 x 2160

5320 x 2160 (Davinci Tec)

5120 x 2160 (5K Final Cut)

2660 x 1080

1330 x 540

Isotope
Vitamin
Aloy 2
Ozone 6 +
Nector
swiss army knife
Nugget audio broadcast specs some mastering
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Cuda Driver not found
COMMAND and COMMA
opens prefs
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here is a workaround for you:
Building upon the project you had me do yesterday with timeline 1 having 3 track mono channels sent to the stereo SUB1, SUB2, and SUB 3 respectively, which were sent to the stereo main. Timeline 1 is placed into the timeline 2
Ⓐ create a new track in the nested timeline that matches the desired timeline format. This track is sent to the Main by default
Ⓑ Arm it for recording using [R] button and the header fo the track
Ⓒ Fairlight▸Patch Input/output▸ Source: Main Send, Destination: Track Input. (to prevent over recording you can make a different AUX or SUB to which send your other subs, in that case, you will have to patch the Send of that AUX or SUB as a source of the recording)
Ⓓ Patch the main sends to the track created in the step Ⓐ
Ⓔ Go to the beginning of the timeline and click the record button.
Ⓕ Once the recording is done you will see the totality of the mix and everything sent to the main, placed as a bounce track to the track you made in the step Ⓐ

At that point, you will see that the totally mixed and prerendered audio is present in the Timeline 2. If you need to change the mix you will need to perform rerecording to the target track in the Timeline 1 again.

I have reported this to the developers.

Let me know if you have any other questions at this time.

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It is my understanding that the way compound clip audio (nested sequences) work, is that when you bring a sequence into another, it essentially acts as a submix of all of the tracks in the original timeline. So it’s a good idea to edit the nested audio into a track that matches the Main format of the originating timeline. If you have things bused to a surround sound main with submixes for dial, fx, music – such as 5.1 so that the dialogue is going to the center channel, and effects and music going to subsequent channels in the original timeline, I recommend that you create a 5.1 surround track for A1 in the master timeline so that the sum of your original timeline submixes are correctly mapped when brought into your master timeline as compound clips. The same would go for if your intended mix is stereo. Then pan the tracks accordingly in the originating timeline, and make A1 a stereo track so that the mapping will be correct when the nested sequences are added to your master.

Alternately, once all of the edits are complete in your master timeline (that contains all of the compound clips), you can option-right click the audio portion of each compound clip and choose decompose. This will spill open the compound audio into all of its original constituent tracks and clips, while leaving the video still compound. One caveat for this option is to make sure that your tracks match in all of the original timelines… such as Mono dialogue on the first 6 tracks, sound fx on the next 10 tracks, and music on the next 10 tracks. Then when you decompose your nested audio they will all match seamlessly in the tracks for traditional mixing.

Another helpful trick for this type of audio work is to turn on tabbed timelines in the timeline options menu. That way you can right-click any compound clip in your master and choose open in timeline – and see the originating timeline, tracks, mixer and submix patching. There in that tab you can make any adjustments to the audio, levels or mixing necessary, then click back to the tab of your master timeline (containing the nested clips) and keep moving.

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Here is the .dra that Tino created. Feel free tor restore this in you DaVinci Resolve to see how it works.

Nested TL Test.zip

Master Timeline is the overall master. In there,
– Main is set up as a 6-wide transfer bus.
– It routes via the Sub-bus returns to 3 discrete stereo sub buses.
– an overmall master Stereo mix is then generated in Main 2.
– meaning that you have full mix balance control of Dia, FX and Mus in this master timeline, using Sub 1 to soub 3 master faders.

Scene one is a sample nested timeline. In there,
– we have 3 stereo stem mixes (again Dia, FX, Mus)
– we have a stereo bus (main 2) where they are summed for monitoring.
– and we are using Main 1 as a 6-wide transfer bus out of the nest, into the master timeline.

Original intention was to go out of Sub 1-3 Bus into the Ins return point of Main. This works while the nest is your main timeline. It does NOT work when the nest is being played inside another timeline.

For Now: as a temporary measure, in the nest,
– re-recording the 3 stereo stems into track 4 (Bounce),
– then sending this to main.

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